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Grateful Dead Live at Paramount Theatre on 1977-10-01

Set 1

The Promised Land
They Love Each Other
Mexicali Blues
Dire Wolf
Tennessee Jed
New Minglewood Blues
The Music Never Stopped

Set 2

Bertha ->
Good Lovin'
It Must Have Been The Roses
Estimated Prophet ->
Eyes Of The World ->
Dancing In The Street ->
Drums ->
Not Fade Away ->
Black Peter ->
Around And Around

Collection GratefulDead
Band/Artist Grateful Dead
Venue Paramount Theatre
Location Portland, OR

Source Betty Board (see comments)
Lineage See info file
Taped by Betty Cantor
Transferred by Original WBOTB DATs procured & circulated in 1996 by Jace Crouch and Tim Deibert. Thanks to trailmix for providing the lineaged master DAT for transfer..Transferred and mastered by ChrisL.


Source: 7" two track BBD reel w/ DBX-1 @ 7 1/2 ips > PCM501ES (beta) > PCM501ES analog out > DBX-1 Decoder > analog in PCMF1/PCM501ES analog out > Fostex D5 @ 48 kHz > WBOTB Master DAT (DAT-1).
Original WBOTB DATs procured & circulated in 1996 by Jace Crouch and Tim Deibert.
Thanks to trailmix for providing the lineaged master DAT for transfer.

Transfer and mastering:
Jace's DAT (48 KHz) playback on Sony PCM-R500, AES digital output > Benchmark DAC1, XLR analog output > Grace Lunatec V3, sample rate at 96 KHz, AES digiout) > AES digital input, professional mode/sync - LynxTwo soundcard in E6400 dual core processor-based PC > HD as 24 bit/96 KHz WAV > Ozone 3.0 > MBIT+ dithering to 16/44.1 KHz WAV > CDWAV 1.9 (tracking) > FLAC (level 8). Recording, editing and mastering with Wavelab 5.0. All cables were Mogami Gold 0.3m pro-audio XLR cables. All components in the transfer/mastering chain were powered from a Cyberpower 1285AVR noise-attenuated uninterruptible AC power supply. Transferred and mastered by ChrisL.
Seeded by the Green Mountain Bros. at, July 2007.

- Most of "Promised Land" is missing with cuts at the beginning and end. Also the mix fluctuates and is largely bass and drums.
- First few minutes of "They Love Each Other" are absent.
- Popping/distortion on master DAT during first 1:20 or so of "Estimated Prophet" attenuated with manual redrawing of waveform. Some audible artifacts remain, though the end result is an improvement. These are on the master DAT and all previous circulating sources and are not related to transfer. A few similar sounding pops were present at the end of the track preceding it (IMHBTR) and on previous circulating sources (though not commented on in the db) and were also attenuated.
- Reel flip in Drums crossfaded.
- High pitched whine @ 15600 KHz (inaudible to probably >90% of Jerry-experienced deadheads, but not their kids/grandkids) was attenuated using Waves Q10 Supernotch on 24/96 fileset.


Reviewer: clementinescaboose - - November 26, 2013
Subject: Excellent show, easily the 2nd best of the run
This is where the Paramount run starts to really click, much better than the pervious two nights. The first set is all very strong, but the must hear portion is the Music Never Stopped. This legendary version is not only one of the best of the year, but of all time. Very unique playing.

The second set starts with a rocking Bertha>Good Lovin. It kind of surprises me sometimes how fresh they kept this combo, and this is one of the more interesting ones. The meat of the set though is the Estimated>Eyes>Dancin. Estimated gets into a nice bubbly lather, but Eyes gets some serious jamming going with a beautiful drawn out intro and rocking closing half from Jerry. Definitely one of the strongest versions of the fall. The Dancin is no 5/8 or 10/11, but very, very satisfying, working some nice groves and going pretty deep. The rest of the set is might fine as well, with solid versions of NFA and Black Peter.

Though 10/2 gets all the attention from this run, please don't overlook this gem. In some ways, this show is a bit more consistent and enjoyable, even if 10/2 has more of the big time jamming and letter perfect segues.
Reviewer: mikemet - - August 15, 2012
Subject: rocked out bertha
Love listening to these same shows over and over again. One day you hear something- and it shines- another day- another moment-- and you find more diamonds in the rough.

This show delivers- Bertha is really strong if you like something different
Reviewer: Mario Cuevas - - June 23, 2012
Subject: Best Minglewood
The 1977 Minglewood is the best arrangement the Dead ever played of that song. Two reasons:

1. The intro. There isn't one. Bobby just launches it.
2. "Sometimes I am; sometimes I ain't." Way better than "some says I am; some says I ain't," which Bobby introduced in 1978 and never left. The personal manic-depressive partially insane soul baring is truer to the story and a lot more dramatic.

Great to hear this clean, dynamic version of the show. I have a low volume multi-generation analog tape which flattened everything and didn't it justice. (I was there for it, too, but hey - don't remember much. The Paramount was a good venue, though.)
Reviewer: xDeadRoadie - - October 2, 2011
Subject: Natural - 77 Worked the tour
This was my second stop working for the band for Monarch. The band was perfoming with a relaxed authority that was the key to their artistry.
It was a pleasure to be a part of. I miss those days of magic. We didn't know what we had in our hands regarding the forumula of backstage comradarie. I commend John Scher for hiring Cy Kocis to be the provider, along with Mo Morrison to be tour manager. These were the days. Mostly I commend Cy for his hard work and his character. Backstage touring needs a master/healer. He is and was the best. We loved the band and they knew it, vice versa. You too! >Kid Candelario who was the Champion Ball Buster nver got over. Steve Parrish was a great help. Dan Healy was the genius that never got enough the credit. Thank u Dan. We mis u Jerry and all the crew. ;-)
Reviewer: WizardofZaaa - - January 21, 2011
Subject: Wow Music Music and the Jam Never Stops!
Best Music ever bar none! Found this on the archive, went directly to Music (had an older tape of this version) and blasted on my new head phones. WOW!!!!!

Agree with all the other comments as well in terms of energy a little unusual for the period. I also love this PROMISE LAND but unfortunately cut from this version, also my all time favorite version of this song. The banter before the Bertha is funny as Phil tries to convince on Good Lovin but Jerry will not have it....
Reviewer: benmayo - - October 4, 2010
This night and the next are as good a double-shot as they come. These two shows, per Ms. Cantor's par excellence recordings, are wonderful to hear.
Reviewer: slayme - - July 31, 2010
Subject: I signed up just to say thanks for this awesome show!
I have been looking for this version of The Music Never Stops ever since I heard it on The Grateful Dead Hour back in the 1990's. Absolutely smokin! Gonna listen to the rest of the show now, but I'm gonna go ahead and give it 5 stars for TMNS alone! Still gives me chills when I hear it.
Reviewer: JackStraw77 - - December 18, 2009
Subject: Nice!
Great show! but Dancin' "needs more cowbell" at the beginning LOL

This show kicks Cornell's ass. It has a much fresher sound and a more energetic performance. October '77 is my favorite month of Dead recordings.
Reviewer: Old&OuttadaWay - - November 19, 2008
Subject: Right ON.
This is as good as any other 77 show I have heard, even the vaunted Barton Hall show. In some ways it seems better, maybe because it's fresh. After the third listen, I couldn't stop. A very peppy "Eyes"....but the whole thing just rocks (despite the mysterious rough start).
Reviewer: SkyDawg - - June 5, 2008
Subject: High Energy Even For 1977
This show does not let up for a minute! This is hot even by 1977 standards & I can't figure out why I have never heard anyone mention this show when people discuss the great shows of 1977. Set one never lags a bit and set two just rages! The Dancing In The Street is particularly great, shorter than most versions though. Even drums is fantastic! Rapidly becoming one of my favorite shows from 1977.
Five stars with a bullet in a five star year!
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Source: Nakamichi CM-300 x2 > Cassette Master (Sony TCD5M/Maxell XLII-S C-90) Cassette Master (Nakamichi DR-1) > Korg MR-1000 (1-bit/5.6MHz) > Audiogate (1-bit/5.6MHz > 24-bit/96KHz) > Soundforge 9.0 (edits) > flac24; Recorded from Taper Section 101, Row DD, Seat 2 by Bob Morris
Grateful Dead
by Grateful Dead
Source: Set One Master Audience Recorded BY M.L./Keo Master Tapes Shared By Fitzy (His Deck/Tapes); Nakamichi CM300/CP4 Shotguns > Sony TC-D5M, Tapes: Maxell MX-90; Transfer With Nakamichi MR-1 > Korg MR-1000 @ 1 Bit/5.6 MHz; Tracking/Sample Rate Conversion With AudioGate Software To 32/96 kHz Wave; Dithered/Flacked With Korg Aqua To 16/44; SBE's Checked/Fixed With Trader's Little Helper; Metadata Tagging With Tag&Rename
Grateful Dead
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Source: Nakamichi CM-300 (CP-1) x2 > Cassette Master (Marantz Superscope CD320/Maxell UDXLII)
Grateful Dead
by Grateful Dead
Source: Master Audience Recorded By Mr. Darby; AKGC451EB/CK1's (DIN/DFC/Middle Of OTS/6 Feet High)> Whirlwind Phantoms>Sony TC-D5M, Tapes Sony Metal-ES; Transfer Information:Tascam 112 MKII (XLR Out)> Tascam HD-P2 @ 24/48> HDD>Amadeus Pro (Tracking/Fades/FLAC8); Tracks Renamed, Metadata Tagging With Tag&Rename By Keo
Grateful Dead
by Grateful Dead
Source: DTS-Audio-CD 5.1 Mix; SBD (shnid=15076) SBD>MC>DAT>CDR; Via Paul G; Seeded by T. Wiley + AUD (shn id 90976) taper: Joe D'Amico nak 300 mics w/cp4 shotguns > sony d-5 nak dragon tape deck > sony sbm1 > creative extigy soundcard > cool edit pro > flac frontend - dts mixing by Kevin Tobin
Grateful Dead
by Grateful Dead
Source: Source: 2 Neumann KMF4 microphones > Sony TC-D5M - analog master cassettes;
Grateful Dead
by Grateful Dead
( 1 reviews )
Source: Master Audience Recorded By Mr. Darby; AKGC451E/CK1s (PAS/Section 2, Row 42, Seat 8/6 Feet High)> AKG9V Phantom Power>Sony TC-D5M,Tapes:Set 1 Maxell MX,Set 2 TDK MA-X; Transfer Information:Tascam 112 MKII (XLR Out)>Tascam HD-P2 @ 24/48> HDD>Amadeus Pro (Tracking/Fades/FLAC8); Tracks Renamed/Metadata Tagging With Tag&Rename By Keo
Grateful Dead
by Grateful Dead
Source: Master Audience Recorded By Mr. Darby; Sennheiser MD421's (PAS/DFC/Row 2 Behind Soundboard/6 Feet High)> Sony TC-D5M,Tapes Sony Metallic; Transfer Information:Tascam 112 MKII (XLR Out)> Tascam HD-P2 @ 24/48> HDD>Amadeus Pro (Tracking/Fades/FLAC8); Tracks Renamed/Dithered/Flacked With Korg Aqua To 16/44 By Keo; SBE's Checked/Fixed With Trader's Little Helper; Metadata Tagging With Tag&Rename
Grateful Dead
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Source: Master Audience Recorded By Mr. Currier, Transfer By Keo; AKGC451/CK1's > AKG 9V Phantom Power Supply > Marantz PDM-430 > Dolby B, Tapes Maxell MX-s 100's; Transfer With Nakamichi MR-1 > No Dolby > Korg MR-1000 @ 1 Bit/5.6 MHz; Tracking/Sample Rate Conversion/Flacked With AudioGate Software To 24 Bit/96 kHz; Metadata Tagging With Tag&Rename
Grateful Dead
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Source: OTS AUD: Nakamichi CM300/CP4 shotguns > patched thru one D5 > Sony TC-D5M > Fuji FR-Metal 90's, with no Dolby.